Maverick Director Barrie Kosky On Rescuing Opera From The Taste Police
“It is easy for opera to be hijacked by the taste police, especially when the taste police have...
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Australia
Review: “Disgraced” Turns West-Meets-Islam Divisions Into Striking Melodrama
Ayad Akhtar’s Disgraced has arrived in Sydney from America on the back of international...
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The Secret River, Silences, And Our Nation’s History
Neil Armfield’s new stage adaptation of Kate Grenville’s 2005 novel The Secret River invites us to...
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“Banquet of Secrets”: Australian Musical Theatre Comes of Age
Original Australian musical theatre seems to be a relatively well-kept secret. The existing...
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Sydney Festival Review: “All The Sex I’ve Ever Had”
Before even entering the Drama Theatre at the Sydney Opera House on the opening night of All The...
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Thou Hadst Better Avoid Getting Teary–And King Leary–This Christmas
As the year’s major family holiday season arrives, now is a good time to consider how much about...
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“King Lear” Reincarnates As Geoffrey Rush–It’s A Bloody Tragedy
In one sense every play staged is a play for its times. Something about it attracts, provokes or...
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Bell Shakespeare’s “Hamlet” Reviewed: The Same Great Themes In Some Strange New Haunts
Today, Shakespeare’s Hamlet is a play that haunts itself. Its saturation into cultural...
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Dinosaurs On Stage: “Jurassica” Continues Australia’s Proud Lineage Of Italian Migration Stories
The play Jurassica, currently being performed at St. Kilda Theatre in Melbourne, begins with “the...
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“The Experiment” Is A Musical Monodrama To Love, Hate, Or Both
Last night, The Experiment – of which I’m part – opened at the Melbourne Festival. The story of...
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Jules Wright, Courageous Australian Theatre Director, Died Earlier This Year–Did You Know?
Old soldiers fade away. Old theatre directors disappear more quickly. And old female directors can...
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If I Be Left Behind: Toni Morrison’s “Desdemona” Reminds Us Too Many Voices Remain Unheard
The tragedy of Shakespeare’s Desdemona haunts the literary canon. Her murder at the hands of her...
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A Genre-Hopping Triumph: “The Rabbits”
What is opera? This is a question that has engaged puzzled commentators and practitioners since...
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Toni Morrison’s “Desdemona” Invites Us To Listen Not Just Hear
In Desdemona, Toni Morrison’s response to Shakespeare’s Othello, which opens today at the...
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Too Close For Comfort: Contemplating The Plight Of Asylum Seekers In “From Afar On A Hill”
Australia’s “boat people crisis” has, we’re told, been averted and for many, it’s a case of “out...
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Goodbye To All That: Orwell’s “1984” Is A Boot Stamping On A Human Face No More
The blurb for Robert Icke and Duncan Macmillan’s stage adaption of George Orwell’s 1984 for the...
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Defying Tradition: 32 Rue Vandenbranden and the Flemish Wave
Last week, Melbourne Festival opened with a production from the Belgian dance theatre...
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Redefining The (Able) Body
When I first travelled overseas, fresh out of university in the early 1980s, I found myself in the...
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Not So Fringe: Interactive Children’s Theatre Takes Center Stage
A highlight of this year’s Melbourne Fringe Festival, which begins tomorrow, is an expanded...
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“Betrayal” By Harold Pinter, And Our Betrayal Of Ourselves
Some plays are ruled by a single word. It burns through their action, dark as pitch. Watching them...
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